"The Congress" is a roll call of the orgiastic pleasures and bountiful comforts that art provides, and, a reminder of what waits for us when…
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
Sheila writes: Author John le Carré wrote a gorgeous and painful reminiscence of Philip Seymour Hoffman in the New York Times. Le Carre wrote, in part: "... His intuition was luminous from the instant you met him. So was his intelligence. A lot of actors act intelligent, but Philip was the real thing: a shining, artistic polymath with an intelligence that came at you like a pair of headlights and enveloped you from the moment he grabbed your hand, put a huge arm round your neck and shoved a cheek against yours; or if the mood took him, hugged you to him like a big, pudgy schoolboy, then stood and beamed at you while he took stock of the effect."
Roger Ebert's legacy; The decline of Woody Allen; The history of TMZ; Lawsuit filed to prove 'Happy Birthday' is in the public domain; Harassment at Comic-Con.
A report on an event at SDCC sponsored by Samsung and promoting "The Hunger Game--Mockingjay, Part 1."
A piece by contributor Matt Fagerholm that connects "Prairie Home Companion," "Synecdoche, New York," and "Life Itself" in the sweet by and by.
Talk to the animals; Best films of the 1960s; Low ratings for cable networks; Tom Cruise Hair Quiz; Oscar Wilde's journalism.
A Cannes report on the new Bennett Miller film, Foxcatcher, starring Channing Tatum, Mark Ruffalo, and Steve Carell.
A recap of Roger Ebert's 16th Annual Film Festival.
The Ebertfest screening of Bennett Miller's "Capote" had added resonance due to the passing of Philip Seymour Hoffman and Roger Ebert. Susan Wloszczyna reports.
A complete guide to the 16th Annual Roger Ebert's Film Festival.
Beauty shaped by evolution; A tribute to Philip Seymour Hoffman; Onslaught of YA adaptations; Facebook purchases Oculus; Chris Evans retires from acting.
Here is the full schedule for Ebertfest 2014.
Seongyong Cho looks back at Philip Seymour Hoffman in "Owning Mahowny".
Writer Glenn Kenny responds to our Movie Love Questionnaire.
Post-Beatles Beatles movies; heroin and creativity; Terry Gilliam's life in 8 movies; Hannibal's food stylist.
Søren Hough of MovieFail.com talks about his experience seeing "Life Itself at a special screening for contributors to the Indiegogo campaign that helped fund the movie.
Sheila writes: It's been such a sad week, with the shocking news of Philip Seymour Hoffman's passing. I am still struggling to get my head around it, and I know so many others feel the same, not to mention his colleagues, friends, and family, all of whom must be heartbroken. There is a roundup of tributes to him below in the newsletter. With so much darkness in the world, and so much pain, I wanted to lead off this week with a funny and silly photo gallery I came across, of a couple who re-enact famous movie scenes with their baby. Here they are, in "Apollo 13".
Some notes on Philip Seymour Hoffman, addiction, and compassion.
Matt Zoller Seitz on why Philip Seymour Hoffmann mattered.
A remembrance of documentary filmmaker Eduardo Coutinho.
Remembrances of Philip Seymour Hoffman.
Reviews of Philip Seymour Hoffman's films and an interview with him about "Capote"
Simon Abrams ranks the films he saw at the 2014 Sundance Film Festival, from best to worst.
Marie writes: Much beloved and a never ending source of amusement, Simon's Cat is a popular animated cartoon series by the British animator Simon Tofield featuring a hungry house cat who uses increasingly heavy-handed tactics to get its owner to feed it. Hand-drawn using an A4-size Wacom Intuos 3 pen and tablet, Simon has revealed that his four cats - called Teddy, Hugh, Jess and Maisie - provide inspiration for the series, with Hugh being the primary inspiration. And there's now a new short titled "Suitcase". To view the complete collection to date, visit Simon's Cat at YouTube.
Marie writes: Widely regarded as THE quintessential Art House movie, "Last Year at Marienbad" has long since perplexed those who've seen it; resulting in countless Criterion-esque essays speculating as to its meaning whilst knowledge of the film itself, often a measure of one's rank and standing amongst coffee house cinephiles. But the universe has since moved on from artsy farsty French New Wave. It now prefers something braver, bolder, more daring...
Michael Haneke's "Amour," which won the Palme d'Or last May at Cannes, was voted Saturday the best film of 2012 by the prestigious National Society of Film Critics. The award, coming on the eve of voting for the 2013 Academy Awards, confirms "Amour" as a Best Foreign Film frontrunner. Other NSFC winners will also draw welcome attention.